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phedre resume C re le 1 er janvier 1677, Phdre reprsente l’apoge de l’uvre tragique de Racine. Il a trente-sept ans et, depuis son premier chef-d’uvre, Andromaque , jou dix ans plus tt, il a crit peu prs une pice par an. Protg et admir par le roi, lu l’Acadmie franaise en 1672, il atteint le sommet de sa carrire. C’est en cette mme anne 1677 qu’il va se marier avec une riche bourgeoise parisienne et qu’il sera nomm, avec Boileau, historiographe du roi . Dsormais, Racine n’crira plus de tragdie. Il partagera sa vie entre sa charge officielle la Cour et sa famille. Ce n’est qu’ la fin de sa vie que, la demande de Mme de Maintenon, il acceptera d’crire deux pices chrtiennes, Esther (1689) et Athalie (1691), des fins pdagogiques, pour les jeunes filles pensionnaires de Saint-Cyr.

Pour russir, Racine a su rompre des alliances et intriguer. Il s’est vivement oppos son vieux rival Corneille. Il s’est attir des intimits et des jalousies au point que la Voisin, lors de l’affaire des poisons, l’accusera d’avoir fait mourir son actrice et matresse, la Du Parc. Phdre est l’occasion, pour les ennemis et rivaux de Racine, d’organiser contre lui une cabale . Bref, tous gards, Phdre est l’uvre cl de Racine et lui-mme y vit son chef-d’uvre, un aboutissement. Phdre reflte en tout cas les spcificits du tragique racinien, toutes pousses au paroxysme. La passion y est froce et inadmissible (l’inceste). Les conflits y opposent des tres que tout devrait unir. Le mal s’y donne libre cours. Le destin s’acharne contre les cratures, aveugles, gares dans le labyrinthe, obsdes par une fuite impossible. Le pessimisme est extrme et chacun n’attend que la mort ou le sacrifice, tout en restant lucide sur la folie o il est plong.

Racine, form l’cole du jansnisme, puis oblig de se frayer un chemin dans une socit sans piti, convaincu que l’homme est le jeu des passions et de la volont de puissance, a concentr dans Phdre , une dernire fois avant de se taire, sa sombre vision de la condition humaine. Racine a voulu revenir aux sources de la tragdie antique. Ses premires pices ont dfie le got de son sicle, habitu aux beaux sentiments des hros cornliens. Refusant tout optimisme accommodant, Racine veut renouer avec un lieu thtral sobre, dnud, o la crature humaine est livre d’un combat ingal avec la fatalit. Cette vision est sans doute influence par la formation jansniste de Racine.

Les modernes ont toujours t fascins par la tragdie racinienne et par Phdre en particulier. C’est qu’ils ont su traduire en d’autres termes le climat racinien et montrer qu’il atteint ce qui nous est essentiel. Plutt que d’insister sur le pch originel chrtien, ils peroivent dans Phdre le poids de l’hrdit : quelle responsabilit avons-nous, ds lors, que s’exercent notre insu les tares de notre sang ? Mais nous sentons bien aussi que la faute de Phdre touche au plus fort de l’interdit : l’inceste. La prohibition de la sexualit entre parents est universelle. Elle a des raisons sociales, sans doute, mais elle constitue aussi, selon Freud, le cur du refoul : complexe d’dipe, attirance-rpulsion. Racine n’invente pas son sujet, mais il perptue l’interrogation primordiale de l’homme sur le dsir. Car nous dsirons surtout ce qui est impossible. Lire Phdre , finalement, c’est rencontrer l’absolu. Il a nom amour. C’est le tout ou rien : ou tu m’aimes ou je te tue.

Possessif ravageur, autodestructeur, l’amour est jaloux et cruel. Pourqu’il puisse se rvler totalement, il s’attache exclusivement une personne qui ne peut lui appartenir sans crime ou sans inceste. Le spectateur dcouvre ainsi le vrai de la passion. Il n’y a pas d’amour heureux. La tragdie comme le mythe rflchit la condition humaine. Mais elle est aussi spectacle et plaisir. Car nous voyons les consquences de drglements qu’un autre vit pour nous : nous nous dfoulons, nous nous purifions. Et la langue de Racine, pur pome lyrique, invite au dpaysement et au rve, en transformant l’abomination des faits en mlodie des curs blesss. Trzne, en Grce, une poque fort lointaine, Phdre, seconde pouse du roi Thse, est tombe amoureuse de son beau-fils Hippolyte.

Cette passion lui semble si monstrueuse qu’elle se rsout mourir plutt que d’avouer son amour. Ne pouvant toutefois supporter le chagrin de sa nourrice none, qui la voit dprir, elle lui confie l’origine du mal qui la consume. Bientt circule la rumeur de la mort de Thse, absent depuis de longs mois. Sa succession au trne ouvre une crise politique. Phdre consulte Hippolyte ; mais, trouble par la prsence du jeune homme, elle finit par lui avouer qu’elle l’aime.

Hippolyte s’enfuit, horrifi. Thse serait vivant, apprend-on aussitt aprs. Phdre mesure l’horreur de sa situation. Et si Hippolyte venait parler ? none lui suggre de prendre les devants et d’accuser Hippolyte de tentative de viol. Phdre s’indigne, puis, accable, laisse none agir sa guise. Celle-ci le dnonce Thse ds son retour. Dsespoir et fureur de Thse. Pour preuve de son innocence, Hippolyte lui rvle qu’il aime Aricie.

Thse ne le croit pas. Honteuse et repentante, Phdre accourt pour lui rvler la vrit. Mais elle apprend par la bouche d’none qu’Hippolyte aime Aricie. Jalouse, elle dcide de ne rien dire. Malgr l’intervention d’Aricie, Thse demande Neptune de punir son fils. Le suicide d’none, dsespre de se voir condamne par Phdre, le trouble. Trop tard.

Un dragon, surgi de la mer sur ordre de Neptune, tue Hippolyte. Phdre confesse son crime Thse et sempoisonne. Thse , roi de Trzne et d’Athnes, homme mr, au pass galant et hroque. Phdre , pouse due et trompe de Thse, amoureuse d’Hippolyte, poursuivie par la haine ancestrale de la desse Vnus. Hippolyte , fils de Thse et d’Antiope, complex par la gloire de son pre et amoureux d’Aricie. none , nourrice, dvoue corps et me, de Phdre. Aricie , jeune princesse courageuse, limine du trne d’Athnes par Thse qui, pour des raisons politiques, lui a interdit de se marier sous peine de mort.

Thramne, gouverneur d’Hippolyte. Ismne, confidente d’Aricie. Panope, femme de la suite de Phdre. Gardes. R acine propose dans sa prface la clef de ce personnage ponyme de la pice. La formule est clbre : Phdre n’est ni tout fait coupable, ni tout fait innocente . Cette ambigut fondamentale du personnage fait tout son intrt dramatique: elle passe du registre de la noirceur celui du remords, de la violence la plus obscure de grands moments de lucidit, ce qui suscite chez le spectateur la piti. Phdre est une figure tragiquement cartele. La culpabilit de Phdre est d’abord une culpabilit sociale et familiale : elle aime son beau-fils, Hippolyte, fils de Thse et d’Antiope.

Elle ne respecte non plus son devoir d’pouse puisqu’elle est reine: marie du roi Thse, elle dchoit de son rang et trahit sa fonction. Enfin, elle est indigne du titre de mre: bien qu’ayant un fils de Thse, Acamas, elle dtruit sa famille lgitime par son amour pour Hippolyte. Mais cette culpabilit n’est pas, au premier abord, de la responsabilit de Phdre. Sa passion est vcue comme l’effet d’une machination divine, dont la fille de Minos et de Pasipha n’est que l’instrument, l’ultime manifestation. Son ascendance en effet explique quelques-uns des nombreux visages de Phdre dans la pice.

Il est impossible nanmoins d’innocenter compltement Phdre la lumire de cette lourde hrdit. Sa passion la dvore, mais il faut remarquer combien sa volont se garde d’aller dans un sens oppos au flux qui l’entrane. Phdre change ainsi, de manire trs rapide, de registre passionnel : amoureuse (scne 3, acte I), apeure (scne 5, acte II), jalouse (scne 5, acte IV), repentante (scne 7, acte V), elle passe pas divers tats qui la ravagent au point qu’elle abdique tout pouvoir sur elle-mme. Sa raison sait tre de mauvaise foi lorsque son amour pour Hippolyte est en jeu. La dernire scne de l’acte I le montre bien : Phdre, proche du suicide, rpond aux exhortations d’none en rejetant la responsabilit de ses acteurs sur sa servante, et, pour camoufler son amour pour son beau-fils Hippolyte, elle le cache sous les apparences d’une proccupation maternelle pour son fils Acamas, dont elle prtend assurer l’avenir politique. Racine a donc bien pris soin de prsenter son personnage dans les affres d’un amour dvastateur, mais aussi de mettre en scne tous les mandres emprunts par le dsir, toutes les ruses de ce dsir pour arriver ses fins et se jouer d’autrui comme de soi-mme, jusqu’ la mort. On notera que la principale figure de style qui caractrise les propos de Phdre dans la pice est l’oxymore.

L’me de Phdre est une obscure clart , une sombre lumire T hse est fils d’Ege, roi d’Athnes, et thra, princesse de Trzne. Elev dans cette cit par sa mre et son grand-pre, il n’apprend qu’ l’adolescence qui est son pre. Il part alors combattre les Pallantides, les frres d’Aricie, qui prtendaient succder Ege, et devient l’hritier du trne d’Athnes. Il a un fils, Hippolyte, puis, aprs la disparition d’Antiope, il pouse Phdre, dont il a eu deux fils, Acamas et Dmophon (jamais mentionn par Racine dans la pice). Thse a donc un pass glorieux. La pice retentit, par allusion ou rcits piques, de ses exploits. Thse, comme Hippolyte, a sa faiblesse , et ce point faible, ce sont les femmes.

Ses aventures galantes sont voques plusieurs reprises dans la pice, comme un thme rcurrent, au vers 23 ( jeunes erreurs ), aux vers 85-89, et son voyage en Epire, dont les dangers ont aliment le bruit de la mort du roi, avait un motif de la mme trempe, puisqu’il s’agissait d’aider son ami Pirithos enlever la femme du tyran de cette contre. Thse apparat plutt comme un sducteur fatigu, prompt se jeter dans les bras de son pouse au retour de son expdition (scne 4, acte III). En outre, jamais Racine n’en fait un personnage ridicule: il conserve toujours sa qualit de hros, envers qui les dieux eux-mmes, comme Neptune, ont des dettes. Le donjuanisme de Thse ne serait encore qu’une faiblesse toute relative si le personnage ne manquait pas de lucidit. Or Thse est aveugle et crdule. Lui, capable de revenir des Enfers et d’exploits hroques sans pareil, il se rvle pitre souverain et ne peut discerner temps les mesquines manuvres d’une servante. Il finit la tragdie en contemplant le malheur autour de lui, en pre accabl, en mari abus, en roi cras par le destin. Cette image ngative du hros est enfin renforce par le rle qu’il joue dans la pice. Son existence s’oppose presque tous les personnages de la tragdie : sa femme qui ne peut aimer Hippolyte, son fils d’un premier lit ; ce fils, qui ne peut aimer Aricie, frappe par l’interdit royal d’pouser quiconque ; Aricie, qui ne peut aimer Hippolyte pour la mme raison. Thse incarne l’obstacle par excellence, ce qui montre parfaitement la parenthse de l’acte II (l’acte des dclarations), c’est- -dire o, Thse passant pour mort, les passions se librent et s’expriment. R acine avait eu l’intention d’appeler sa pice Phdre et Hippolyte . Hippolyte a beau commencer la pice, son rle est secondaire par rapport celui de sa belle mre ; le titre en dfinitive retenu le montre bien.

Nanmoins, le personnage d’Hippolyte n’est sans complexit ni intrt. Dans sa prface, Racine souligne dans quelle mesure il s’est cart de la lgende antique, et s’en excuse : s’il n’a pas epris l’extrme perfection morale et physique qui caractrise Hippolyte dans la tradition mythologique, c’est pour que la mort du personnage ne suscite pas un sentiment de rvolte et d’injustice chez le spectateur. Racine veut respecter la lettre la prescription aristotlicienne : la tragdie doit engendre la piti, et pour qu’il y ait piti, il faut que le personnage ait une faiblesse , c’est- -dire qu’il soit humain, proche du spectateur, qui doit pouvoir s’identifier. En faisant d’Hippolyte l’amant d’Aricie, il rend accessible son personnage. Le tragique, c’est humain. Racine prsente l’amour d’Hippolyte pour Aricie comme antithtique au reste de sa personnalit. Amateur de chasse et autres sports (vers 130-132), il semble vou la prouesse solitaire de ceux de son pre.

Fils de Thse et d’Antope, reine des Amazones, il prsente une parfaite grandeur d’me . Il sait garder le contrle de lui-mme, lorsque Phdre lui avoue sa passion: il refuse de la frapper de son glaive (scne 5, acte II). Il fait preuve de fidlit, envers Aricie, qui vont ses dernires paroles (vers 1561-1566), et mme envers Phdre, qu’il refuse de dnoncer ou de couvrir d’opprobre : jamais il n’oublie qu’elle est reine, pouse de son pre (scne 5, acte II). Par toutes ces qualits, il se croit au-dessus des autres hommes, avant de prendre conscience de son amour pour Aricie : le voil devenu simplement un homme parmi les autres hommes, sujet aux lois de l’amour (vers 531-536). Il juge sa passion, comme un obstacle sur la route de l’hrosme. Elle le conduit invitablement s’opposer son pre, puisque cet amour s’adresse prcisment celle que son pre lui refuse pour des raisons politiques : Aricie, descendante d’une famille qui a jadis rgn sur Athnes et que Thse dcime, ne doit pas avoir d’enfant qui puisse un jour rclamer le trne par leur anctres. L’amour d’Hippolyte dstabilise le pouvoir de son pre : Hippolyte, comme Rodrigue dans Le Cid de Pierre Corneille, doit choisir entre l’honneur (Thse) et l’amour (Aricie). Prcisment, c’est Thse, plus Aricie, qui est la vraie faiblesse d’Hippolyte. Ce dernier n’est pas un hros, car il ne s’est pas encore mancip du modle paternel. Il prit finalement en raison de sa trop grande timidit devant l’autorit de Thse: lorsque celui-ci l’accuse injustement d’avoir tent d’abuser de Phdre, il se refuse dnoncer la machination de la reine, qu’il respecte malgr tout comme la femme de son pre (scne 2, acte IV).

Le comportement qui caractrise le mieux Hippolyte, finalement, c’est la fuite (vers 1717 ou encore 925-926). C’est l que rside toute l’ambiguit de ce personnage : plein de vertu, aspirant un hrosme digne de celui de son pre, Hippolyte a peur, aussi bien devant les sentiments de l’amour que devant le monde trouble du palais de Trzne. Il rve d’affrontements au grand jour, avec un ennemi clairement dsign : il ne rencontre que des passions, celle de Phdre, mais aussi la sienne. Ironie du sort : lorsqu’il quitte enfin Trzne et affronte un monstre, il en meurt. A ricie est une invention par rapport la tradition antique, qui ne relate aucun fait prcis son sujet, sinon qu’elle est la fille de Pallante et que ses frres, les Pallantidesm revendiquant le trne d’Ege, ont t massacrs par Thse. Si Racine s’est permis cette libert, c’est que ce personnage joue un rle important dans l’organisation psychologique de la pice. Elle incarne en effet un maillon dans la chane infernale de l’amour et de la haine qui lie les protagonistes de la tragdie : Phdre aime Hippolyte qui aime Aricie qui aime Hippolyte, Thse ayant tout pouvoir sur chacun de ces personnages.

Aricie apparat donc comme la jeune fille amoureuse par excellence. Ainsi est-elle prsente comme jeune (vers 50), aimable (vers 53), rebelle l’amour comme Hippolyte (vers 433) avant d’y succomber comme Hippolyte. A cela s’ajoutent un sens de la justice (vers 1584) qui se rvle lorsqu’elle voit Thse couter les calomnies d’none contre Hippolyte. Personnage un peu terne dans sa candeur morale et nave, elle est victorieuse de sa rivale dans le cur d’Hippolyte, mais cette victoire, fort relative (son amant prit), souligne la situation pathtique de Phdre plus qu’elle ne met en valeur Aricie. Elle ne doute jamais, ni de son bon droit, ni de son amour, qu’elle s’est partag. Racine a su donner toutefois Aricie une paisseur humaine, en la dotant elle aussi d’une faiblesse qui n’est suggre. Cette paisseur s’affirme mesure que se droule la pice.

Aricie aime sa gloire : ainsi conoit-elle cet amour dont elle tire orgueil (vers 449-453). Jamais, cependant, cet orgueil quelque peu vindicatif ne va jusqu’ la conscience du personnage : la sincrit d’Aricie est entire dans ses sentiments pour Hippolyte, sa raction la mort de son amant le prouve. La pice s’achve sur l’image d’une jeune fille brise. none est un personnage secondaire qui jour un rle fondamental dans la pice. Elle apparat comme la face d’ombre de Phdre. Mais, en fait, elle ne se cantonne pas ce rle.

Les liens qui unissent none et sa matresse sont trs forts : nourrice aime, none est la confidente par excellence. Elle incarne la voix de la raison quand Phdre s’abandonne sa folie, et de la vie quand Phdre parle de se donner la mort. Racine n’enferme pas son personnage dans une codification fige. Car none la raisonnable en vient jouer l’entremetteuse (scne 1, acte III), puis calomnier Hippolyte. Les conseils qu’none prodigue Phdre n’ont rien d’objectif ni mme de raisonnable, mais sont motivs par un dvouement sans bornes qui ressemble fort une passion sans limite. la fin de la pice, les accusations qu’elle porte contre Hippolyte lui apparaissent comme une faute morale, qu’elle justifie cependant pas sa volont de sauver Phdre tout prix du dshonneur. Son principal rle est d’engager Phdre agir, ne pas s’abandonner elle-mme: elle est ainsi un moteur fondamental de la tension tragique, jusqu’ la mort, la sienne et celle de sa matresse. none est une passionne. Elle met un acharnement dtruire tout ce qui s’oppose sa passion. Elle ne comprend pas qu’Hippolyte se refuse Phdre et seules une haine farouche, une jalousie latente, peuvent la conduire calomnier le fils de Thse devant son pre, pour l’honneur et pour l’amour de Phdre. none incarne un amour rentr, une passion noire d’autant plus violente qu’elle n’a pas le droit de s’exprimer, ne serait-ce qu’en raison de son infriorit sociale. Sa mort est l’aboutissement inluctable de cet amour impossible.

A u fil des actes et des scnes, Racine met en scne la dchance d’un personnage. La structure de la pice est d’une impeccable rigueur, o les chos et les parallles symbolisent la marche d’une fatalit implacable. De la passion avoue (acte I) la passion dclare (acte II), de la passion dnonce (acte III) la passion meurtrire (acte IV) et punie (acte V), Phdre vit en cinq actes sa passion sur tous les mode, et s’achemine fatalement la mort. Phdre est la chronique d’une dchance annonce. Le premier acte a pour mission d’exposer tous les lments de l’intrigue : en introduisant le spectateur en pleine action, dans la situation conflictuelle de la pice, Racine met en scne une imbrication de sentiments et d’enjeux politiques qui vont faire la tragdie. L’acte d’exposition se compose de cinq scnes. Deux sont consacres des aveux, ceux d’Hippolyte son gouverneur (prcepteur) Thramne (scne 1), et ceux de Phdre sa nourrice none (scne 3) ; deux autres sont des scnes de transition: la sortie d’Hippolyte l’arrive de Phdre (scne 2), et les encouragements d’none sa matresse (scne 5) ; enfin, une scne expose les lments qui vont servir, dans l’acte suivant, nouer l’action : Panope, servante de Phdre, vient annoncer la mort de Thse (scne 4). Le deuxime acte, l’acte des pripties dans la tragdie classique, prsente les effets de l’annonce de la mort de Thse, en six scnes. Ce mme acte oppose l’amour partag d’Aricie et d’Hippolyte dans les scnes 1 et 2, l’amour solitaire et destructeur de Phdre dans les scnes 5 et 6, les scnes 3 et 4 (vingt vers elles deux) assurant la transition entre les deux ensembles. Le deuxime acte contient encore un aveu, celui d’Aricie qui confesse sa confidente, Ismne, son amour pour Hippolyte Aricie (scne 2) et de Phdre Hippolyte (scne 5). Ce sont elles, les vritables pripties de l’acte, c’est- -dire des vnements qui contribuent augmenter la tension dramatique de la pice.

Le troisime acte de Phdre est bel et bien celui du nud de la pice, acte o, dans une tension toujours croissante, les oppositions, les passions contadictoires, la fatalit, se dvoilent crment et se nouent. Le retour de Thse est la principale priptie de l’uvre, au centre mme de la pice : Thse reprsente l’obstacle majeu la fois la passion de Phdre, sa femme, l’gard d’Hippolyte, et l’amour d’Hippolyte, son fils, pour Aricie. Et l’apparition de Thse va conduire Phdre et Hippolyte non plus seulement des aveux ou des dclarations, mais la faute. En six scnes, le troisime acte se noue selon une parfaiye ordonnance. Avec ses six scnes, le quatrime acte repose, lui aussi, sur une construction dramatique impeccable, faite pour accrotre la tension qui culminera dans le dernier acte. Il met en scne une violence accrue des rapports entre les personnages, exacerbe par la catastrophe de la scne 4 : en rvlant Phdre l’amour qu’Hippolyte porte Aricie, Thse prcipite les personnages dans leurs passions extrmes, vers issue fatale.

Le dernier acte est celui o se dnouent les conflits mis en vidence au troisime acte. Trois conditions devaient tre remplies par les dramaturges selon les thoriciens de l’poque : ce dnouement devait tre l’aboutissement ncessaire des passions des divers personnages ; il devait rgler de manire complte le destin de tous les protagonistes ; enfin, il devait tre prsent dans une acclration de l’action. Le cinquime acte est divis en deux ensembles de scnes: le premier (scne 1 3) montre les dernires tentatives d’Hippolyte et d’Aricie pour sauver leur amour et leur propre personne ; la scne 4, avec le monologue de Thse, fait figure de scne de transition, avant que l’acte ne bascule dans une suite de morts (scne 5 7), qui interviennent selon une ordre hirarchique et selon l’importance des personnages dans la pice : d’abord la mort dramatique d’none (scne 5), puis la mort hroque d’Hippolyte (scne 6), enfin la mort tragique, la seule reprsente sur scne, de Phdre (scne 7). Cinq actes mnent donc la mort trois personnages, Phdre, Hippolyte et none, et plongent dans la douleur les survivants, Thse et Aricie. L a construction de la pice n’est pas le seul lment qui donne au spectateur le sentiment d’une crasante fatalit. L’une des rgles de la tragdie classique, l’unit d’action, permet Racine de condenser l’action et d’augmenter la tension de manire exacerbe.

En deux heures environ de repsentation thtrale, Racine met en scne une tragdie qui se droule en une journe. L’unit temporelle de la journe prsente une valeur symbolique : elle donne l’impression d’une clture, et ne laisse rien derrire elle. Tout le problme est de donner ce temps symbolique un aspect vraisemblable. Une action humaine, parce qu’elle dpend d’une infinit d’autres actions, s’inscrit dans un temps illimit. Au thtre, compte tenu de la dure de la reprsentation, il faut faire des choix. D’o la rgle de l’unit d’action : il peut y avoir plusieurs actions, mais une seule proccupation doit prdominer pour qu’ la fin de la pice le spectateur ait le sentiment d’un achvement. Racine fait des choix : le temps de sa tragdie est slectif, dans la mesure o il ne reprsente pas sur scne les vnements qu’il jude moins importants.

Par exemple, l’acte IV commence quand dj none a expos Thse toutes ses accusations calomnieuses contre Hippolyte. En outre, le temps de la tragdie est htrogne. Par exemple, la dernire apparition d’Hippolyte intervient dans la scne 1 de l’acte V, o il dit adieu Aricie ; la scne 6 du mme acte, surgit Thramne qui raconte la mort de son lve. En temps rel, il faut environ vingt minutes une demi-heure pour reprsenter les scnes 1 6 de ce dernier acte. Racine cherche ici condenser les vnements : en juxtaposant le rcit de la mort d’Hippolyte et la mort de Phdre, il donne la sensation d’un achvement. L’unit de temps comme l’unit d’action sont donc deux moyens pour le dramaturge de mettre en scne certaines conceptions du monde, par des effets potiques qui paraissent le plus vraisemblables possible. Profil d’une uvre : Phdre (12 sujets corrigs) Phdre (tude de l’uvre)

Phdre (Coffret Collector 2 DVD) par Hady · Published 18 juin 2012 · Last modified 31 janvier 2014. par Hady · Published 16 juin 2012. par Hady · Published 17 juin 2012 · Last modified 22 aot 2015.

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Students will produce three essays and several paragraphs. Fight! The content of the of the great gatsby, course focuses on American culture and issues facing new immigrants. The course is designed for Limited English Proficient students at Cincinnati State who are enrolled in a pre-tech or degree program. Comprehension , English grammar , Essay 660 Words | 5 Pages. resembled something you would only see you in your wildest dreams, with huge moss-covered rocks haphazardly compiled on the ground, and funnels of steam . rising to meet low-lying gray clouds in the distance. It was a formidable and alien landscape with no trees , no grass and and Its Dangerous, no shrubs. We'd heard that Iceland was nothing like the other landscapes God has provided for great us, and now we could see why. With the suspiciously simple verbal directions given by the rental car clerk, Just follow the Essay on The Administration, road to Reykjavik.

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Ellen Foster Object Relations Essay. Ellen Foster is climax gatsby a ten-year-old, Caucasian, female who experiences a series of traumatic events during her childhood. These traumatic events include her witnessing domestic violence in the home, her mothers suicide and subsequent physical, sexual and psychological abuse by club masculinity, her alcoholic father, her maternal grandmother and other relatives (aunts and cousins on the mothers side). Ellen shuttled from home to home, staying for a short time at the home of her teacher, then to different relatives homes, to finally a foster home where she eventually resides. Ellens new mama, as she refers to her, is a much better role model then she has ever experienced before. Climax Of The Great? New Mama is supportive and Essay on The National Aeronautics and Space Administration, nurturing towards Ellen. Climax Of The Great Gatsby? Ellen reports that government and church funding support the foster family. She has no siblings. Ellen is intelligent and enjoys doing art.

She often rides a pony at her new foster home. Ellen misses her mother, and longed for a caregiver before she had new mama. This is evident when she reports eaves dropping on a colored family and started making a list of all that a family should have. Of course, there is the mama and the daddy but if one has to be missing then it is OK if the one left can count for two. But not just anybody can count or more than his or herself (p.

67). She often sought help from her Aunt Betsey and Hippies, neighbors. Her mother, father and climax of the gatsby, grandmother, or mamas mama as Ellen calls her, are all deceased. The grandmother was old and abusive towards Ellen forcing her to work the fields with the colored field hands on her farms in the middle of , a sweltering hot summer until school started. Ellen eventually becomes the of the, caregiver and housemaid to mamas mama after the the crucible character analysis, grandmother fires all of her household servants.

Despite Ellens care and good works for great, her, the grandmother despises her because she is convinced that Ellen was in cahoots with her father in abusing her daughter, taking her revenge out on Ellen since the of the great, father is dead. Ellen has a best friend, an African American girl named Starletta, Since Ellen likes Starletta, and she struggles with her own burgeoning racism. She has beliefs about African Americans that are mainly negative. Ellen eventually realizes that race makes no difference in the quality of the person. Ellen enjoys art and playing with her microscope often fantasying about being a scientist on the brink of a new discovery that will change mankind. She sees a counselor at school on Wednesdays. Ellen does not enjoy doing therapy and has negative transference towards her counselor. Presently she is seeing me for character analysis, therapy. She can be aggressive, defensive and competitive at times at school. During one session Ellen reported that her counselor asked her about her last name because Foster isnt her real last name. She did not want to discuss it any further.

Perhaps she chose the last name Foster from her label as a foster child. Object Relations As stated by Lesser and Pope (2011) according to object relations theory, human development takes place within the great, context of relationships (p. 69). Hippies And Transcendentalism? British object relation theorists, Melanie Klein, Ronald Fairbairn, and Harry Guntrip introduce definite and functional ideas about what internal object world, or the inner world, consists of. The inner world includes representations of climax of the great, self and other, representations structured by character analysis, thoughts, recollections, and occurrences within the external world. A representation has a lasting continuance in the inner world and although it begins as a cognitive structure, it eventually takes on a profound emotional meaning for the person (Berzoff, Melano-Flanagan, Hertz 1996).

The word object is set apart from the subject. The subject is the climax gatsby, self and character, the object is the part outside the of the great, self, the object is what the self identifies with, encounters, wants, has uncertainties about, feels denial about, or absorbs. Dangerous? In Freudian drive theory and in ego psychology, the term object is sometimes used in reference to people. The word, object, in drive theory can be to some extent depersonalized, because the word essentially does exemplify a thing not a person as in: the object of oral impulse can literally be the of the great, breast(citation). In psychodynamic theory the word object, usually refers to people, but other objects such as cooking, art, pets, or can become objects when they are profoundly and representatively connected to powerful object experiences in the inner world. Some of great gatsby, Ellens physical objects are her microscope, her encyclopedias, her money, and her art supply. A conjecture about Ellens inner world and what these object represent is that her money could represent an insurance plan, in case things go wrong. And her microscope, her art, and her encyclopedias represent an escape for her and masculinity, they also represent hopes for the future. Klein (1948) was the first theorist to revise Freuds notion of the object by giving more consideration to the interpersonal environment in deciding its influence in developing personality. She amongst other object relations theorists now defined the target of relational needs as a concept known as relationship seeking.

Klee 2005 stated that relationship seeking is the climax great gatsby, belief that through relationships with significant people in our lives, we take in parts of others (objects) and gradually develop a self-structure that we ultimately call a personality . This mental process by which a person changes the regulatory features of her environment into internal regulations and features is of the great gatsby called internalizing (Lesser Pope 2011). Glaspell? D. W. Winnicot (1958), a pediatrician and psychoanalyst, is influential in the field of climax of the, object relations theory, gave great consideration to the notion of , being alone. He believes that the ability to abide, take pleasure in, and utilize healthy solitude could be refined, ironically, only in the proximity of another. If aloneness is experienced as desolate, isolated, or miserable, it becomes agonizing. This can happen is a child has been neglected. In this situation, the inner world is climax great gatsby not filled with enough soothing figures. On the contrary, aloneness becomes too excruciating or insufferable for the child, if the inner world is too crowed with threatening and abusive figures who offer neither protection, reassurance, nor tranquility. The ideal environment for the growing child to share experiences with the soothing figure for a period of time and to experience time alone to reflect and to adventure on the childs own (Berzoff et al. 1996). Klein (1948) described six early processes and primitive defenses developed from climax great early infant years. The Crucible Character Analysis? Projection is when the of the great gatsby, infant believes an Hippies and Transcendentalism Essay object has characteristics that are in fact the infants own feelings.

Introjection is the mental desire in which the infant consumes the perceived in the world. Projective identification is creatively splitting off a part of oneself and ascribing it to another in order to control the other (Berzoff et al. 1996). Club Masculinity? Splitting occurs when a child cannot separate conflicting thoughts or feelings in the mind at climax of the great the same time, and therefore instead of fight club masculinity, integrating the two thoughts or feelings the child focuses on just one of them. A split can take any form, from visual appearance to concepts and ideas.

For example, a frequent split is into good and bad. The good part is preserved and cherished at the same time the bad part is wrestled with or repressed. In extreme case of schizophrenia, when a part of the self linked with one of the separate thoughts, and gatsby, another part of the self is linked with another, the person is then split (Berzoff et al. 1996). Idealization is a defense used to keep painful and unacceptable feelings out of character analysis, consciousness.

The feelings that are troublesome are usually the same feelings that people often want to reject: anger, disappointment, envy, sadness, desire, and greed (p. 145). Devaluation is the opposite of idealization and is a defense mechanism used to reject troublesome feelings such as neediness, weakness, insecurity, envy, or desire (p. 146). A person who denies desire through devaluation ends up feeling smug and superior but quite alone (Berzoff et al. 1996). Look At Susan Essay? An important developmental point in object relations is the depressive position according to Klein (1948). The depressive position is constantly maturing throughout a persons lifetime.

Feelings of remorse, grief, and of the great gatsby, the yearning for atonement take hold in the developing mind in the depressive position. The person now recognizes the ability to cause harm or push away a person who one undecidedly loves. And Transcendentalism Essay? The defenses attributed to the depressive position include the manic defenses, such as preoccupation for reparation. As the depressive position causes growing integration in the ego, prior defenses shift in the character, becoming less powerful, allowing the character to move into psychic reality (Berzoff et al. 1996). Throughout this turbulent time in Ellens life she is experiencing many new relationships and is relationship seeking with many adults. Climax Of The Great? These adults are supposed to be caregivers for her. These people are her mother, father, her grandmother, Julia, Aunt Betsy, Aunt Nadine, and new mama.

There is a time after Ellens mother dies that I feel she is too alone, in agreement with Winnicot (1958). Ellen often reports that when she would come home from Essay on The school it was already dark and climax of the, he had the lights on. I went in and did not speak to him. Look At Susan Essay? I did not speak to him or else I stayed outside most of the time (p. 24). She said that her father was drunk all the time, often passed out, she was alone and eventually she had to take care of the bills.

There are other times when Ellens life is overflowing with abusive adult figures in her life. On New Years Eve, Ellen claimed that a bunch of black drunk men came into her house with father. Mercy Killings? My daddy showed up at climax of the great gatsby my house less and lesshe did show up on New Years Eve. Of course I went and hid when I heard him and a whole pack of colored men come in the door (p. 36). Ellen is frightened when this happens often trying to escape through a window in her room. In accordance with Winnicot (1958), aloneness becomes too much too bare for Ellen and of the, she feels the need to hide. Her inner world is National Administration too crowed with threatening and abusive figures who are threatening her safety. The whole mothers side of the of the great, family overcrowds Ellens inner world too.

This is a risk for Ellen, because disruptions in object relations may result in an inability to fall in love, emotional coldness, apathy or withdrawal from interaction with others, co-dependency, and/or extreme need to control relationships (Berzoff et al. 1996:70). Ellen attempts to control Starletta as much as she can through projective identification; she splits off a part of herself and on Xenotransplantation Dangerous, attempts to control Starletta. Ellen often tells Starletta what to do, for example one day when Ellen was over Starlettas house and she wanted to play, however Ellen thought to herself and told Starletta the following: Starletta still had on her nightgown and she needed to be washed. You got to wash before I will play with you is what I told her (p. Great? 31). She taped Starlettas crayons back together after she broke them.

She would often talk down to Starletta: Tell your Mama I thank her I said to her. ? Say it over in your head and out loud so it will not leave your head (p. 52). This relationship may unconsciously aim to get rid of unmanageable feelings for Ellen and help her deal with these feelings. Ellens relationship with grandmother is toxic at best. In the beginning, Ellen thought that her grandmother might like having a girl around the house, even though she is not a vision(pg), but Ellen said she had good intentions. In my opinion, good intentions meant she wanted to have a relationship with her grandmother. The grandmother wanted to punish Ellen for the crucible, Ellen and her father causing her daughters suicide. Ellen confronts her grandmother, asking her why she hates her so much.

Ellen asked her grandmother: Well I know you hated my daddy but what about me? Why cant you see that I am not like him? (p. 78). The grandma lashes out at Ellen with an climax gatsby onslaught of abusive hurtful words directed towards Ellen to break her down. Ultimately, that is what Ellen does she shuts down. ? So I decided to spend the climax of the, rest of on The Aeronautics, my life making up for it. Whatever it was. Climax Of The Gatsby? Whatever I decided I one day I actually did (p. 78-79).

Ellen is in the depressive position, she feels guilty about everything for her mothers death, for her fathers death, and then for the grandmothers death when she passes. Ellen utilizes her manic defenses, in my opinion, when she finds the grandmother dead and decides to dress her in her Sundays best clothes and character analysis, surround her with flowers in order to make amends with her guilty feelings. And Its Dangerous Affects? I made her like a present to Jesus so maybe he would take her. Take this one I got prettied up and on The National and Space, mark it down by name to balance against the one I held from you before. Climax Great Gatsby? be sure I get the credit for it and if you can please show me some way that you and , me are even now (p. 92). Climax Of The Great? Ellen becomes slightly preoccupied with reparation. Ellen begins to move past this phase when she moves in the home of her Aunt Nadine. National Aeronautics And Space Administration? Object relations can be applied to Ellens traumatic past and helps to identify some significant points in her life that she would like to work in future treatment. A pleasant thing about object relations is that as the therapist and patient collectively examine the patients internal world and its effect on the crucible the patients relationships, the patient and therapist are in a relationship as well. In this way, patient and therapist have an existing shared connection that both can study and learn from (Berzoff et al. 996). Sociocultural Theory Sociocultural theory stemmed from the work of psychologist Lev Vygotsky.

Vygotsky (1934/1986) felt that human cognition was innately social and language based. Vygotsky believed inner speech is qualitatively distinct from normal external speech. It is of the great gatsby language, advanced during the earlier years, and mercy killings, progressively improved during the middle years (where Ellens age lies) that actually aids in giving the older child the capability to organize things mentally rather than by using concrete items (Lesser Pope 2011). As Berk 2003 stated: Vytgotsky felt that children speak to themselves for self-guidance; he felt language was the foundation for all high cognitive processes, including control attention, deliberate memorization and gatsby, recall, categorization, planning, problem solving, abstract reasoning, and self-reflection (p. Essay Dangerous? 257). One of Vygotskys concepts is the Zone of Proximal Development (ZPD). The ZPD is the difference between what a child can achieve when working by themselves and what the same child can achieve when given assistance from someone with the necessary knowledge (Wertsch 1985). Vygotsky viewed the ZPD as a way to better explain the relation between childrens learning and of the great gatsby, cognitive development.

The lower limit of ZPD is the level of skill attained by the child working alone; this lower limit can also be accredited to as the childs actual developmental level. The upper limit is the level of latent skill that the child is able to reach with the assistance of a more capable instructor (Wertsch 1985).. A concept associated with ZPD is the concept scaffolding. It is essential to make a note that Vygotksy never used this concept in his writing; introduced by David Wood, Jerome S. Bruner, and climax great, Gail Ross (1976). Scaffolding is a process through which a mentor or more competent peer helps a person in his or her ZPD learn for as long as necessary and tapers off until the student no longer needs the mentor, much like a scaffold is detached from a building when construction is finished or deemed stable (Wood et al. 1976). Vygotsky viewed make-believe play as the vital context for development of self-regulation. Despite the fact that Ellen is the crucible character ten years old going on eleven years old, this still pertains to her. Make-believe is full of shared dialogue and development-enhancing skills. Climax? Vygotsky takes make-believe to the next level making it a important part of development a distinguishing, experiential ZPD in which children try out club masculinity a wide range of climax gatsby, difficult skills and character analysis, learn culturally valued skills developing a significantly stronger capacity for self-regulation.

University/College: University of California. Type of of the gatsby, paper: Thesis/Dissertation Chapter. Date: 9 September 2016. Let us write you a custom essay sample on Ellen Foster Object Relations. for only $16.38 $13.9/page. Haven't found the Essay You Want? Get your custom essay sample.

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